Transform Your Talk: Ten Tips

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When working with clients preparing to give a presentation, we rehearse and break down the speech in detail. We also get into how best to prepare prior to the talk, how to manage unexpected things that might occur during the talk, and how to decompress afterward. Here are some general considerations to get you started:

1. Drink Water

It is important to hydrate your voice well before your talk, even more so if you are in a dry environment or tend to get a dry mouth when speaking. If you are using a microphone, it will amplify those qualities in your voice even further. A warm-up that incorporates your articulators will help to prevent tongue suction and popping. If possible, have water with you when speaking. Don't be afraid to pause at an opportune point in your presentation in order to take a drink if you need it.

2. Get Excited, Not Anxious. 

When we drive a car, we don't stare at the barriers. Instead, we look where we want to go. Prior to a competition, athletes will go through every aspect of the game or course, imagining everything detail. As Vanessa Van Edwards says, "Anxiety and excitement are similar emotions the only difference is mindset." Focus on where you want to go, on how exciting this opportunity is. Instead of thinking, "I have to do this" change your mindset into "I get to do this!"

 

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3. Channel Your Nerves

While waiting, move your body. Walk, shake out your hands, contract and release your muscles without movement at the joints, push against a wall. Listen to a song that gets you dancing. Use power poses

4. Breathe

Bring your awareness to your breathing and consciously drop it down into your diaphragm. If you feel adrenaline course through your body or anxiety rachet up, simply inhale for a slow count of four, exhale for a slow count of four. Inhale for a slow count of five, exhale for a slow count of five. Inhale for a slow count of six, exhale for a slow count of six. Inhale for a slow count of seven, exhale for a slow count of seven.   

5. Move with Purpose

When speaking, nervous speakers will often sway or pace or gesticulate in ways that are distracting. It's a good idea to video yourself in order to notice your "tells." A good strategy is the "rule of three" sometimes used in theatre.If you notice that you are repeating a gesture more than three times, you are not supporting your words. Instead, walk a "map" of your ideas. When making a new point, walk to a new spot. If getting personal or driving a point home, walk toward the audience. If the room needs to breathe, or you are speaking more universally, put greater space between yourself and the audience. 

Source: http://voice-international.com/

Source: http://voice-international.com/

6. Your greatest Asset is Your Voice

The quality of your voice can support the content of your talk or detract from it. Developing a voice that is expressive, powerful, and authentic is one of the greatest investments you can make in yourself. This includes the musicality of your voice, the pace with which you speak, how and where you pause, the words you emphasize, and more. The more skilled and intentional you are with your voice, the better you can craft your talk, and the more influential you are.

7. Allow People to Adjust to Your Delivery

Open your talk with a well-rehearsed opening and speak at a slightly slower pace with attention to emphasis and inflection. This will give the audience time to "tune their ear" to the sound of your voice and any accent differences between you.

Pictured: Artiz Aduriz

Pictured: Artiz Aduriz

8. The Audience Wants You to Succeed

Remember that each person in the audience took the time to show up to see your talk. They want you to do well. Few speakers are their best if they perceive the audience as antagonists. Come in with an energy of welcome, high regard, and excitement. Put your focus on them instead of your nervousness and you will transform as a speaker.  

9. Allow For the Unexpected

No matter how much you rehearse, allow there to be room for something to happen. Technical glitches, or tripping over your own feet doesn't have to be embarrassing or a "loss of face," it can be an opportunity. Have a joke ready or be prepared to ad lib. The audience might take it as an opportunity to relax. 

10. Be Prepared To Be Done.

It is a skillful speaker who has a decompression strategy in place. A presentation will take a lot of energy and may stir up anxiety - which will lead to a crash. You may also experience a lot of emotions stirred up inside you. Have something set up beforehand such as a debrief with a trusted friend, sit down and write a reflection, go for a walk, or sit in a hot tub or bath. Take some deep breaths, shake out your hands.

Sources And Further Reading:

A TED speaker coach shares 11 tips for right before you go on stage

Does body language help a TED Talk go viral? 5 nonverbal patterns from blockbuster talks

You Are Contagious - Vanessa Van Edwards

Your Body Language May Shape Who You Are - Amy Cuddy

Is Your Voice Ruining Your Life? - Roger Love

 

Whatever your aims, we can aid you in achieving your goals with our individualised approach and flexible sessions. Contact us:


#WritingWednesday What Can We Learn from Standup?

The other day I began watching Pete Holmes' comedy special Faces and Sounds on HBO. Sometimes I will play something in the background as sound to mask other, the more distracting central air, refrigerator, and old house noises. Pete Holmes quickly had my full attention. His incredible facial reactions and self-deprecating humour won me over. Something that is unique about his special in this era of Chappelle, Silverman, Minaj, Maron, Hart, Schumer ... and that is how clean his comedy was. I love shock controversy, I love comedy, but sometimes it's refreshing to find laughter in something that doesn't require me to throw my relatives out of the room beforehand. 

Something He Said Stayed With Me:

"I'm a silly, silly fun boy, right?"

Well, that was so adorable I perked up and stopped working in order to listen.

"And one of the reasons is I've recalibrated my brain to reward me for the things I am doing, not the things I could be doing. And that's what I think you should do, that's one of the keys to happiness, love yourself for the things you are doing, not the things you could be doing [....] I don't mess with my joy quota [....] you gotta keep an eye on your joy quota"

This got me thinking about my own "joy quota." When do I intentionally gift myself moments of pleasure with intention and fully experiencing them in order to make a deposit into my joy account and truly allowing myself to laugh or feel joyful.

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I sat down and tried to come up with a few:

  • Getting silly with my husband and giggling until my face hurts
  • My father-in-law's deceptively outrageous sense of humour
  • Shuffling my bare feet through carpet
  • Listening to this guy's ridiculous laugh (at 1:08:48)
  • Sitting in a hot tub, or better yet, attending a traditional Korean bath/spa
  • Creating art with my hands
  • Stretching in bed following a rare, long, deep sleep
  • Reading for pleasure
  • Listening to the 2 Dope Queens podcast
  • Standup comedy by Aparna Nancherla and Issa Rae
  • Thomas Haden Church in Divorce
  • Stephen Merchant in Hello Ladies
  • Pete Holmes in Crashing
  • Eugene Levy, his son Dan Levy, and Catherine O'Hara in Schitt's Creek

I love looking at these photos because I don't often get to see myself in the midst of experiencing joy. Not a posed selfie representation, but being captured in the midst of a spontaneous reaction. It reminds me that the right people bring out the best in me.

 

Standup comedy has a lot to teach writers of all persuasions. Most comedians are writers first and foremost, sweating over the wording of each joke in preparation for bringing those jokes to the stage and utilising body language, pace, pauses, pitch, inflection, emphasis, and a range of public speaking skills to connect with the audience and create a performance.

Comedians train themselves to be observers and writers - both requiring attention to detail. They typically look to their own experiences and interactions as raw material. They listen closely to how people speak in real life and record dialogue to use later. They understand that simply changing the order that information is given or the order of words will change something from an anecdote to an act.

Comedians must also understand human behaviour. In observing the world around them, in crafting their jokes, and in connecting with their audiences their comedy is only as good as their ability to "get it". Is anything as immediate as the feedback one gets from a set in front of an audience? While I have never done a standup as a comedian, in the course of MCing I have written and performed sets designed to elicit laughter. It can really be hit or miss at times, a joke that I have been gloating over is met with silence in the room. Something I throw out there off the top of my head requires me to pause and wait for the laughter to die down. Even in the course of conversation, notice what seems to just "work."

Comedy is about understanding the mechanics of what makes something funny in that language, which also incorporates an understanding of cultural and contextual nuance. Moroccan-French Comedian Gad Elmaleh is a celebrity in Europe who played to sold-out arena shows. Growing up in Morroco, Elmaleh speaks Arabic, French, and Hebrew. He decided to create a career in America, in English, which meant starting over.

Elmaleh made a film "10 Minutes in America," documenting his experience. The film explores how comedy doesn't translate, it is much more than simply transferring each word into the new language, jokes must be crafted from the ground up.

Comedians Must Have Deep Knowledge of: 

  • Language - including puns, turns of phrase, and the mechanics of what makes something funny
  • Body language and facial expressions
  • Verbal gesticulations - a well-placed sound can put an audience in stitches
  • Cultural sensibilities - including cliches and stereotypes
  • Specific audience - the community, the venue, the night

Writing Practice

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A. Exercise 1:

This week, listen and/or watch some comedians and play close attention to their set-ups and wording. Better yet, compare a comedian telling the same joke during a different performance. Notice how the order of words are changed in order to become more effective jokes or how segues evolve to better introduce the new subject matter.

B. Exercise 2:

  1. Pick a short personal story that you like or have told to friends and family.
  2. Write it out, aiming for around 250 words.
  3. Now use 100 words to tell the story.
  4. Then tell it in 50 words.
  5. Now 25 words. 
  6. Write it using 140 characters.

Achieving a full stand-up routine is so difficult because a successful set is so condensed. Amateur comedians (and writers) often have extraneous detail that derails the joke, lowers the energy, or occludes the narrative. Learning to generate material and then filter and compress it is a powerful skill. Learning to be concise and to choose each word for its ability to convey meaning will transform your writing. 

C. Exercise 3:

Pick a story out of the newspaper and cast yourself in the story. For example, a government turns into a metaphor for a dysfunctional family, a silly local incident becomes something your cousin did, an episode involving a celebrity mirrors something you have done. Do not try to be funny, just go for 10.

 

Further Resources

Gold Comedy

 

Whatever your aims, we can aid you in achieving your goals with our individualised approach and flexible sessions. Contact us:

 


#CreativeInnovative with Claire Ogden: Entrepreneur and Professional Acrobat

Claire Ogden on Navigating the Political Circus and Changing Culture One Student at a Time

This is the fifth in a regular series of blog posts in which I speak with exciting artists, innovators, and entrepreneurs exploring how their creative skills have enabled them to do incredible things in their personal and professional lives.

You can find all of these interviews by searching for the tag #CreativeInnovative.

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Claire Ogden is a business owner, circus performer and activist. I first heard of Claire and her acrobatic duo Scrambled Legs in 2013 through her performance partner, Shane. I was putting on monthly showcases at Brisbane Square Library and looking for performers who would bring something unique and wild to the library.

Born in Canberra, Australia, Claire lives in Brisbane, Australia and represented the Queensland Greens Party in the Lilley district. In their performances, the interactions between Claire and Shane were a hoot and their performances a big hit with audiences. Earlier this year, Scrambled Legs went on a hiatus. Understandable, as both have moved on to other projects.

I am especially excited that Claire agreed to answer my questions because of her diverse life as a performer, teacher, and politician.

Claire Ogden pictured with Larissa Waters, former Senator for Queensland  representing the  Australian Greens , and Richard Di Natale, Australian Senator and leader of the Australian Greens.

Claire Ogden pictured with Larissa Waters, former Senator for Queensland  representing the Australian Greens, and Richard Di Natale, Australian Senator and leader of the Australian Greens.

F: Tell me a little about your training in the arts.

C: I first became interested in the arts in primary school through participating in choirs and school bands. My parents didn’t have a lot of money but I was able to borrow and learn musical instruments through the school instrumental music program. In high school I got the opportunity to participate in drama and I went on to study drama at university.

After graduating, I got a job in the office of a contemporary circus company. I didn’t know anything about circus but I was inspired by the company’s performers and circus trainers to start learning some circus skills. I participated in the circus classes for adults run in the evenings and on Saturdays. Before long I was obsessed! That job changed my life. I am now in my eighth year of business, performing circus professionally and teaching circus classes for children and teenagers.

F: Has your art/training taken you to other places? 

A few of Claire's students at the end of the year show

A few of Claire's students at the end of the year show

C: In 2012 I went to Indonesia and taught some circus workshops with children living in the slums and in orphanages. It was a great experience. 

F: What drives you in your work?

C: Empowering young people and changing culture. I feel strongly that we can all be a part of changing culture and those shifts are vital to create a better world. I try to be a role model for my students to show them an alternative, fun and creative way of being an adult.

The acrobatic duo Scrambled Legs, Claire Ogden and Shane Smith

The acrobatic duo Scrambled Legs, Claire Ogden and Shane Smith

F: To what extent have you been able to make your creativity work an aspect of all of your jobs?

C: I make all my income from either teaching circus skills or performing circus. I feel lucky to have entrepreneurial abilities so I have been able to earn enough money from a fun and creative path. I am in my eighth year of business. 

F: That is incredible! What are some of your accomplishments of which you are you proudest?

C: I am most proud of generating my own income for nearly eight years. I am also proud of getting a good work-life balance that allows me to engage in the world around me and the many aspects of my personality. 

F: How do you manage burnout/feed yourself creatively?

C: I’ve streamlined my life so I actually have quite a bit of free time. I often consider what I need to be focussing on and that helps me to cut out the things that aren’t really important. I’ve become good at maximising the things that I enjoy and minimising the things that I don’t enjoy because I know that life is short and I’ll be more effective in the world if I am doing the things that bring me peace rather than frustration. 

Claire Ogden ran for the federal seat of Lilley in the election last year

Claire Ogden ran for the federal seat of Lilley in the election last year

F: My work is underpinned by the belief that an arts education not only makes people better citizens, but that training in movement and performance gives individuals concrete and adaptable skills. 

C: Yes. As an environmental activist and Green party political candidate, communication has been very important. There are many people in the world who come up with great ideas and innovative technologies but I feel that we already have many of the solutions to a happier and more sustainable life like for example, embracing the minimalist lifestyle and considering the impact that our diet and purchases have on the environment. I think one of the biggest challenges of our time is communicating the solutions and helping people to see how they can be part of a more sustainable and compassionate world. I’m grateful for my public-speaking skills which I have developed over the years.

F: What adaptable skills have you gained through your art form that you apply in other contexts?

C: When I was younger I watched circus with the belief that I was a mere mortal and the people on stage were somehow super-human. I realise after years of circus training that everyone can learn and practice to become good at what they do. This has been very empowering as I realise that nearly anything a person has passion and interest in can be learned to some extent. This has been particularly useful as I become more involved in politics. I see politicians talking with such confidence and I remember that I could also do that if I practiced all day, every day for years. Speaking to the media is a skill that can be learned and practiced like any other skill and I think that concept has helped me to take up challenges outside my comfort zone like running for parliament which I have done three times now. 

F: That is incredible, particularly as you perform, and run your own business teaching circus!

C: Yes, I work with children, teenagers, and adults who want to learn circus for fun and fitness.

Students at Claire's Circus School

Students at Claire's Circus School

F: What values underpin your pedagogy?

C: I believe that choice is ultimately very important and I like to run classes where students have a lot of choice over their focus. I think people will get a lot more targeted and efficient progress if they  are experiencing a state of creative flow. If they are lost in the moment that means they are so engaged in what they are doing that time moves in a different way. This is what happens when children are playing so I try to make my classes with children very playful.

F: That's a great approach, and people often lack agency in their own learning. It requires a lot of work on the part of the Teacher to give options and be responsive to students' needs. How would you describe your dream student?

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C: Someone with a willingness to learn and a commitment to persevere

F: What do you say to people who claim to “not be creative”?

C: In my third year of studying drama I had a crisis of creativity. I thought, "Oh no! Maybe I’m not very creative.' I realise that this is nonsense. There are many ways to be creative like having a fascinating conversation that goes on all sorts of tangents or merely choosing to make a change like walk home along completely different streets. I also think the way a person lives their life can be a creative act. Simply questioning and being conscious of the forces at play in the wider world is a creative way of being. We can all be creative in our thinking and work on having the courage to let that take hold in our lives. 

Hoops performance at the Mullum Circus Festival

Hoops performance at the Mullum Circus Festival

F: How can voice, performance, training benefit someone who doesn’t wish to be an artist/musician/performer?

C: Nearly all of the people I teach at Claire’s Circus School won’t go on to be performers or even work in the arts but I am passionate about helping people to see the value of the arts for our society. In a world that is increasingly corporatised and polluted, it is imperative that people can think for themselves and question things. We humans are living in a time of shocking waste and we are actually resourceful beings who can imagine and create a better future if only we have the willingness, courage and strong communities to do so. At a more personal level, circus training can help a person grow their brain and improve their posture - two things that are very important for a long and healthy life. 

F: Did you have any teachers who were pivotal in your learning? 

C: I have sessions with a kinesiologist and she has one of the best teachers I could ask for. The sessions help me to identify and get rid of subconscious beliefs that hold me back in life for example the belief of not being good enough etc. I think we are all making decisions based on subconscious programs that don’t necessarily help us and working on some of mine has been a truly profound, humbling and life-changing experience. My kinesiologist always helps me see the world in new ways and open my mind to new possibilities which has helped me more than I can possibly say. 

You can follow Claire Odgen's work through her website here and her circus school site here.

We can aid you in achieving your goals with our individualised approach and flexible sessions. Contact us: 


NYC Midnight's 12th Annual Short Story Challenge

Calling All Writers and Aspiring Writers on this #WritingWednesday!

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Be sure to join NYC Midnight's 12th Annual Short Story Challenge before their deadline on the final entry deadline of January 25, 2018! This creative writing competition is open to writers around the world. 

There are 3 rounds of competition.  In the 1st Round (January 26 to February 3, 2018), writers are placed randomly in heats and are assigned a genre, subject, and character assignment.  Writers have 8 days to write an original story no longer than 2,500 words.  The judges choose a top 5 in each heat to advance to the 2nd Round (March 29 to April 1, 2018) where writers receive new assignments, only this time they have just 3 days to write a 2,000 word (maximum) short story.  Judges choose finalists from the 2nd Round to advance to the 3rd and final round of the competition where writers are challenged to write a 1,500 word (maximum) story in just 24 hours (May 11 to 12, 2018).  A panel of judges review the final round stories and overall winners are selected.

Every writer receives feedback from the judges for every story submitted, and a special review forum is available for the participants to submit their stories for review from fellow writers throughout the competition. 

In each Round, writers are assigned a Genre, Subject and Character assignment for their stories. All stories must be created within the competition periods and must include the Genre, Subject and Character assignment. The story must be written in the assigned genre. The list of potential genres is Action/Adventure, Comedy, Crime Caper, Drama, Fairy Tale, Fantasy, Ghost Story, Historical Fiction, Horror, Mystery, Political Satire, Romance, Romantic Comedy, Sci-Fi, Spy, Suspense, Thriller, and Open Genre. The assigned subject must be integral to the plot of the story. The assigned character must be a relevant character used in the story. The Genre, Subject and Character assignments will be different for each Heat in each Round of the competition. 

You can read the rest of the rules here and sign up here

This group also does a Screenwriting Challenge, Flash Fiction Challenge, and Short Screenplay Challenge, so be sure to join their newsletter.

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Whatever your aims, we can aid you in achieving your goals with our individualised approach and flexible sessions. Contact us:


#WritingWednesday with Bruce Weigl

I love to discover a new writer who leaves me feeling as if I have just unwrapped a precious new gift. This is one of the reasons I enjoy reading anthologies of short stories or poetry. It's like speed dating or a tasting menu, you don't have to worry about the consequences of a long-term commitment, trying to find a convenient excuse to go home or staring longingly at your friend's meal.

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Say it clearly and you make it beautiful, no matter what
— Bruce Weigl

Discovering a writer that I had not read before is unwrapping an unexpected and valuable gift. Bruce Weigl is a recent discovery of mine. I read one of his poems, and then another, and I knew I wanted to read all of his work. I see in his poetry an economy of words that belie the richness of images he creates. I like to form an idea of the writer through reading their work, then learn about them. It is essential to engage with the person, their background and aims in order to fully engage with their work.

I formed an image of a poet who contemplates, sees things clearly, and acts with deliberation. The word "Buddhist" sprang to mind. Imagine my sense of satisfaction when, in conducting a cursory research into Weigl, I discovered that he does have a Buddhist practice. According to him, his experience fighting for the American army in Vietnam as an 18-year-old both, "ruined my life and in return gave me my voice” The Circle of Hanh, 2000), and I certainly hear the "wounded warrior" throughout his work, a perspective with which I am familiar as some who has lived and worked with veterans. 

In admiration, here are a few of Bruce Weigl's exquisite poems. Look at how Weigl uses language, builds imagery, employs repetition, and evolves his theme over the poem. Pick an element of his writing that you will incorperate into your own this week.

 

Home - Bruce Weigl

1zoom.me/

1zoom.me/

I didn’t know I was grateful
            for such late-autumn
                        bent-up cornfields


yellow in the after-harvest
             sun before the
                        cold plow turns it all over


into never.
            I didn’t know
                        I would enter this music


that translates the world
             back into dirt fields
                         that have always called to me

Renatures.com/

Renatures.com/


as if I were a thing
              come from the dirt,
                          like a tuber,


or like a needful boy. End
             lonely days, I believe. End the exiled
                           and unraveling strangeness.

 

 

 

 

wideopenpets.com

wideopenpets.com

Dead Man, Thinking - Bruce Weigl

 

i.
Snow geese in the light of morning sky, 
exactly at the start of spring. I was
looking through the cracks of the blinds at my future which seemed
absent of parades, for which I was grateful, 
and only yesterday


I watched what an April wind could do
to a body wrapped in silk, 
though I turned my eyes away, 
the way the teacher says, 
once the beauty was revealed.

sputniknews.com

sputniknews.com

ii
How long it takes to die, in the fifty-fifth year
is what I thought about today. 
I told some truths so large, no one could bear to hear them. 
I bow down to those who could not hear the truth. 
They could not hear the truth because they were afraid
that it would open a veil into nothing. 
I bow down to that nothing. I bow down to a single red planet
I saw in the other world’s sky, 
spinning, 
as if towards some
fleshy inevitability.

I bow down to the red planet. I bow down
to the noisy birds, indigenous to this region. 
Only sorrow can bend you in half
like you’ve seen on those whose loves have gone away. 
I bow down to those loves.

https://twitter.com/sundayfundayz

https://twitter.com/sundayfundayz

Your Turn

A valuable way to develop as a writer is to be a voracious reader and devourer of creative work. Take the week to "supplement" your creative diet by intentionally seeking out and soaking up art over the next few days. Read aloud a poem or selection by a writer you admire before sitting for 5 minutes and commencing your writing practice.

 

Further Reading

Poetry Foundation: Bruce Weigl

Academy of American Poets: Bruce Weigl

 

Whatever your aims, we can aid you in achieving your goals with our individualised approach and flexible sessions. Contact us:


#WritingWednesday - Writing Discipline with Neil Gaiman

Neil Gaiman is going to help me with this one because he is going to effectively be my guest blogger last Saturday.

We are going to talk about the core element of writing - WRITING! Before we can worry about style, plot, subject, narrative, character, your unique voice, editing, or sharing, you must begin putting pen to paper. Or fingers to keyboard. Or crayon to napkin. Consciously and with discipline.

I like the metaphor of textile manufacturing. Whether you aspire to create a breath-taking ballgown, sharply tailored suit, stylish jeans, winsome blazer, provocative lingerie, or practical anorak, you cannot begin without fabric. For example, once cotton is harvested, it goes through the ginning process where dirt, leaves, and stems are removed. Compressed and transported, the bales are opened ("fluffed"), scutched (seeds removed), carded, combed, drawn, spun, and plied before being dyed or printed then cut and sewn into clothing. At several stages, impurities are removed from the fibres and a higher quality fabric results from further processing.  However, before we can envision a resulting garment, we need to practice harvesting raw fibre and working it into fabric. 

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In service of this, we are going to practice 3 strategies this week. Before we worry too much about building muscles, we are going to get into the routine of exercise. 

1. Write. Each Day. Every Day.

The mental gymnastics we can put ourselves through in order to avoid writing can be incredible. As Neil Gaiman says, we like to imagine that little elves will do the work for us, finishing or beginning.

We need to take the drama out of the act of writing. Set a timer for five minutes each day this week and write without pause. If you don't know what to write about, pick something from your day (or the one before) and start there. Or write about what it's like to write in that moment. If your mind wanders into another association, follow it there. If your mind gets stuck on an image or word, stay with it, repeat it, add another element to it. There is no way to "mess this up" as long as your pen (or finger, or crayon) is moving.

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2. Write. Then Do Everything Else.

We are going to practice discipline. Start the day with your new five-minute habit, or start the major portion of your day (if coffee must come first). After this week, you may choose to put longer writing sessions at a different time of day, but finding a few minutes to start your day this week should not be a major disruption. 

It helps to have a ritual around writing - a favourite pen, a fancy notebook, a lit candle, a cup of tea. Pick ONE thing this week that you will use as your ritual element on which to anchor this habit. Otherwise, an involved ritual will become yet another escape and delay tactic. Then, know what you are going to do when you are done writing. Have something that you desire to get done slated for after your writing practice (a delicious breakfast perhaps, or a big X on your calendar to celebrate that you wrote today)!

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3. Write Something After Doing Nothing

Commencing day three and for the remainder of the week, add a three-minute conscious daydream beforehand. Set the timer for three minutes to simply. This is not meditation but active daydreaming. It takes practice: 

  • Take a deep breath.
  • Feel your body in the chair.
  • Think about your day. Think about the weather. Think about that annoying neighbour.
  • Let your mind wander undirected for three minutes.
  • Then set the timer for five minutes and write.

We will check in next week! 

Whatever your aims, we can aid you in achieving your goals with our individualised approach and flexible sessions. Contact us: